Also, it’s important to note that Miranda has never fallen in love until she saw Ferdinand. If Ferdinand hurts her daughter, her only child, she’d make him pay for it.
In addition to being a dominant figure, the perspective we got from that scene was that she was trying to show Ferdinand (interpreted by Reeve Carney) her powers as a warning: Miranda is everything she has after she losing her home and her throne when her brother betrays her, so her power displays acts as a warning. This scene added to the whole concept of Prospera being a powerful and dominant figure on the island. But, in the film , Prospera doesn’t behave as Prospero: they both – Prospero and Prospera- at the beginning tested Ferdinand to see if he was worthy of deserving the love of Miranda (interpreted by Felicity Jones), but in Prospera’s case, when she accepted him, she doesn’t make Ariel to arrange a masque, she does something completely different and surprising: a display of Prospera’s powers. He acts more like a noble, a royalty member, asking Ariel to summon spirits to perform a masque for Ferdinand and Miranda’s wedding celebration, following the traditional path of the noble persons when it comes to celebrate commitments: it’s really typical to see this kind of celebrations (in A Midsummer Night’s Dream the same celebration takes place: a wedding and then, a representation as a part of the celebration of the weddings). As we’ve said, one of the themes that is more clear in the film than in the play is the role of love between Miranda and the character of Prospera: in the play, Prospero shows more interest in his seek of revenge, shows a more aggressive behavior, and it even looks as if his main reason to allow the marriage between Ferdinand and Miranda is not because the two of them love each other, but to achieve his purpose of revenge and recuperate his lost power. The decision to cast a woman as the main part changes many of the dynamics between Prospero and others, like the father-daughter relationship versus the mother-daughter relationship.
#The tempest movie movie
Also it must be said that the movie includes added scenes, as it may well be the punishment of drunkards with bees… This is the main difference and yet what makes it special and unique to this film adaptation of The Tempest. Because, yes, in the film there’s no Prospero, but Prospera (interpreted by Hellen Mirren). But not the love between Ferdinand and Miranda, which is something as spontaneous and vertiginous as the love between Romeo and Juliet – but without the death of the two lovers-, but love between mother and daughter. Despite the differences between the film and the play, which are significant, this film is probably one of the best adaptations of The Tempest that have been made: the themes remain the same as those as we can perceive in the play (betrayal, colonialism, the desire of justice, revenge versus forgiveness, and the force of nature and magic), but in the film there’s a theme we do not see as clearly -or at least, with such force- as we see in the film: love.
This first analysis focuses on a comparative study between the play The Tempest by William Shakespeare and the 2010 film version of that play directed and written by Julie Taymor. We will be talking about two very different adaptations of Shakespeare’s play The Tempest.
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